The association of Robert Craft with The Rake’s Progress spans
the 45 years between this recording and his first meeting with
Stravinsky in 1948
on the same day that W.H. Auden delivered the completed libretto to the composer.
Craft subsequently became involved in what he describes as “the first step” in
the composition of the opera, especially in helping Stravinsky master the pronunciation,
vocabulary and rhythms of the English text. This involvement is described in
an extract from Robert Craft’s memoirs in the booklet. Craft’s recordings
of Stravinsky and others, in this case originally on the MusicMasters label,
have seen a recent revival from Naxos with their ‘Robert Craft Collection’,
and very excellent they are too.

With the label’s bargain pricing position, it seems fairest to compare
like with more-or-less like in that department. My main reference has been Stravinsky’s
own 1964 recording, now hiding discreetly as discs 16 and 17 in Sony’s
bargain 22 CD box Works
of Igor Stravinsky. This set is a must-have for any Stravinsky
collector, but the recording in this set is not to be confused with the mono 1953
Metropolitan Opera recording, now available on Naxos Historical.

As you would expect, the more recent Craft recording wins in terms of sound quality,
but aside from the usual leathery-sounding oboes and some tape hiss Stravinsky’s
recording still comes up sounding pretty good. The same goes for the orchestral
playing, with Craft more slick, and often more adventurous and energetic in terms
of tempi. Stravinsky comes in at just under 141 minutes for the whole opera to
Craft’s 128. If I have a minor criticism of both, it is the level at which
the harpsichord is set, especially in the Craft recording. Even listening on
best-possible hi-fi, the level is arguably too low to hear much of what is being
played, and in the recitatives and important card game scene it is easily covered
by the voices. This is a tricky aspect of such a recording and may be a fairly
accurate representation of what you would hear in a live performance, but it
is a shame that detail and harmonic content is missed in some of these recitatives,
and I found my ears straining somewhat. By the way, Stravinsky’s recording
has some useful riffle sound effects which help the ‘cards’ imagery
in that long recitative Duet scene with Tom and Shadow which are absent
with Craft. The timps are also a bit boomy in the Naxos recording, such as at
the end of Act 3 scene 1, but this is another minor caveat.

While we are dealing with negatives, there is an aspect of the singing which
bothered me just a little throughout. Jayne West is a star as Anne Trulove, and
I have no complaints about her gorgeously innocent performance. Her gently simple
final Lullaby is guaranteed to raise a tear. I am also greatly in admiration
of just about everyone else, but for me the principal male characters Tom Rakewell
and Nick Shadow, and Father Trulove for that matter, lack vocal variety and therefore
remain rather two-dimensional as characters. Tom and Nick both have a hard-edged
projection to their voices which softens little, even when the pair of them are
supposedly in the hushed atmosphere of the dark and mysterious graveyard. John
Cheek as Nick Shadow gives pretty much 110 % of his rich and powerful bass at
all times, and comes across as more of an irresistible force than menacing presence.
To be fair, Jon Garrison does give us some admirable restraint once he has been
struck mad by Nick, and in any case this whole subject might in fact be less
of a problem that you might imagine. I don’t wish to put anyone off with
these comments - we’re talking bargain purchase territory after all. It
is in the nature of Stravinsky’s vocal writing that there is almost always
a certain amount of ‘distance’ between what might be expected to
develop as a fully rounded theatrical character and the intentional neo-classical
or even neo-baroque purity of the music. The Rake’s Progress is
a wonderful score, ranging from Broadway musical corn very much to the heights
of human expressiveness. There is always more than enough going on to keep us
from worrying if this or that line might have been given marginally more colour
or inflection. What I really do like about all of the solo vocalists is
how clearly they articulate the all-important text, and while there is no libretto
in the booklet for this release, you shouldn’t really need it.

With an American cast, you might also wonder if the accents of the singers might
intrude to scandalise European sensibilities. This is not often the case, though
there are one or two ‘The Waltons’ moments, such as when Trulove
calls Anne, Anne! at the end of the Quietly, night aria, Act 1
Scene 3. The choir does very well and are stylishly punchy, but the satellite
characters do leap out somewhat, and this is a mixed blessing on occasion. Shirley
Love is very wobbly as Mother Goose, though this could easily be intentional.
Wendy White begins imperious and perfectly and appropriately unsympathetic as
the spoiled Baba the Turk, but mellows nicely for the You love him, seek to
set him right scene. I was also glad to hear the smashing of crockery in
her tiff with Tom in Act 2 is every bit as juicy as in Stravinsky’s 1964
version. Melvin Lowery’s Sellem is an energetic NYC auctioneer. The brief
Keeper’s solo is alas unmemorable, but the part was never likely to steal
the show.

There are numerous recordings of The Rake’s Progress around these
days, and I still have an affection for the Decca recording with the London Sinfonietta
conducted by Ricardo
Chailly, though Cathryn Pope’s Anne Trulove leaves a bit of a beige
gap in an otherwise strong team of soloists. If it’s the best of the best
of modern recording you are looking for at any price, then the critics seem fairly
universal in praise of Kent Nagano’s 1995 Lyons Opera recording on Erato,
though I don’t have this to hand for comparison. As far as the Sony Box/Naxos
competition goes you can easily accommodate both - Stravinsky having a bit more
unruly bite and grit, Craft winning in terms of refinement but at the same time
losing out in terms of pithy character. What Craft does manage is to bring out
the sheer wit in several little moments of Stravinsky’s score - more so
than the composer himself did. I laughed out loud in a few places which might
not have been intentional, but you simply must find fun in all those corners
and cadences - vocal and tonal - which Stravinsky throws in to disarm us and
allow us up for air in this most human and intense of dramas.

The Rake’s Progress holds a fascination for us in the 21st century,
in the first place as a ‘classic’ and iconic work from one of the
last century’s greatest composers, but also as one in possession of the
magical tensions one of music’s turning points. In the late 1940s and early
1950s there was a wind of change, many of the protagonists of which both held
Stravinsky as a respected statesman of contemporary music making, but who also
already knew his style and idiom, and were more than prepared to see the new
opera as rather old hat. The opera stands at the cusp of this transition in Stravinsky’s
work, between the development or recycling of old formulae, and the decision
whether or not to break new ground in order to compete with the new generation
of composers. In the end, the intangible alchemy which was Stravinsky’s
gift for creating remarkable music, combined in The Rake’s Progress with
a penetrating insight into human nature and frailty, created a masterpiece which
transcended and survived all of those internal and external musical revolutions.
That we have such a direct link to Stravinsky’s living thoughts and intentions
in Robert Craft and such a powerful performance makes this recording - even with
its imperfections - as much a ‘must have’ as the composer’s
own.

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